We found 400830 price guide item(s) matching your search
There are 400830 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribe- List
- Grid
-
400830 item(s)/page
Lot 103
Three Scottish silver brooches. 1) Victorian Malachite set with approx 51mm x 53mm wide brooch, unidentified mark on back. 2) An approx 31mm x 36.75mm wide 1966 Edinburgh hallmarked brooched with Thistle and Leaf border set with an approx 15.9mm x 21.5mm wide Cairngorm style stone. 3) Scottish pebble style silver (unmarked) brooch. Missing the centre stone.
Lot 84
Three vintage contemporary brrooches. 1) Yellow Metal Boucher approx 37.25mm x 46.75mm flat slice of Jasper, Embellished with three organic splashes of metal holding the stone in place. Other marks 8385 P and the Copyright stamp. 2) Sterling Denmark NE from 925s are stamp marks on the back. Made up from 6 approx 15.5mm overlapping circles. 3) Unidentified possible Kupittaan Kulta manufacturer mark, followed by 830, FINLAND. Set in the centre is an approx 8.85mm x 17.75mm across Cabochon Tigers Eye, the overall measurements are approx 27.37mm x 54.5mm across.
Lot 156
A CHINESE 'SHADOW' AGATE SNUFF BOTTLE, QING DYNASTY, 19TH CENTURY NOT SUITABLE FOR EXPORTThe ovoid pebble-shaped body rising to a stout neck, the yellowish-grey stone with russet inclusions, the gilt white-metal stopper surmounted by a domed orange coral cabochon, repair to spoon, minor age wear, extensive gilt loss to collar 4,8cm high
Lot 158
A CHINESE YELLOW JADE SNUFF BOTTLE, QING DYNASTY, 19TH CENTURY Of rectangular form with rounded shoulders rising from an oval foot, each side carved with a raised concave grip, the pale yellow stone with marmalade and white inclusions, natural fissures, minor chip to foot, stopper lacking, stone untested6,3cm high
Lot 197
A CHINESE HARDSTONE FIGURE OF A MAIDEN Standing attired in a flowing robe, her hair upswept in a shaped topknot, her right hand raised holding a tray and lidded cup; and another, similarly carved and holding a blossom, each raised on a carved wooden stand, the stone of even celadon tonethe taller 20cm high (2)
Lot 198
A CHINESE CELADON JADE 'GOOSE AND LOTUS' CARVING, QING DYNASTY, LATE 19TH CENTURY The recumbent bird resting on a lotus leaf, the russet head and neck turned resting on its back, the wings and feathers incised, the celadon stone with russet skin, natural stone fissures, hardwood stand5,3cm wide (2)
Lot 206
A CHINESE JADEITE FIGURE OF AN IMMORTAL, EARLY 20TH CENTURY The seated figure clad in flowing robes, his hair tied into a topknot, his left hand grasping a Ruyi sceptre, the mottled stone with green and russet inclusions; and a celadon jade carving of a boy, later hardwood stand 8,2cm high (2)
Lot 208
A CHINESE SHOUSHAN CARVING OF THE IMMORTAL 'GUANDI', LATE REPUBLIC PERIOD, 1912-1949 Seated on rockwork, wearing voluminous robes concealing his armour, his left knee exposed revealing his tunic decorated with a tiger-head, the hair swept into a high chignon under a tied headdress, the face with narrowed eyes studying the Confucian classic Zuozhuan held in the right hand, his finely combed beard clasped within the left, the ochre stone with buff and russet inclusions, scuff marks, age wear24cm high
Lot 411
* AUGUSTUS JOHN OM RA (BRITISH 1878 - 1961), THE PORTRAIT OF SUNITA oil on canvas, signed 53.5cm x 43cm Framed and under glass. Note: This lot is accompanied by a hand written letter of authentication (dated 4th March 2019) from Rebecca John, artist, grand-daughter of Augustus John and the leading authority on the work of her grandfather. Inscribed on canvas verso: "Property of Sophie Fedorovitch, 22 Bury Walk, Chelsea SW3, London". Sophie Fedorovitch was a Russian born theatrical designer who worked with ballet choreographer Sir Frederick Ashton from his first choreographed ballet in 1926 until her accidental death in 1953. Fedorovitch died in a gas explosion at her home (known as "the Gothic Box") at 22 Bury Walk on 25th January 1953. Two old printed labels verso, one explaining the background to the portrait and the other stating the picture to be "Property of Mary Smeaton or Scott". Augustus John became acquainted with Jacob Epstein at the New English Art Club after Epstein moved from Paris to London. He produced several drawings of Epstein and two etchings. Epstein later modelled a bronze head of John’s son Romily, which is part of the Garman Ryan Collection followed by a stone version and a Bronze head of Augustus in 1916. Although the two artists encouraged each other, they had a prickly friendship which animated their portraits of each other. This was probably further exacerbated by John’s reputation of having a fiery and rebellious temperament, prone to violent mood swings. Augustus John lead a notoriously promiscuous lifestyle and "fathered numerous children with nearly as many different mothers". "Sunita" was originally from Kashmir, a Muslim who married Ahmed Peerbhoy, a millionaire of Bombay, but sometime in the early 1920s she came to England with her son Enver and younger sister Anita Patel. The sisters joined a troupe of magicians known as the Maysculine Brothers. Sunita developed a persona as an Indian mystic and fortune teller and became widely known as Princess Sunita. Jacob Epstein may have met Sunita at the British Empire Exhibition, where the exotic foreign displays intrigued him, or possibly through his friend Matthew Smith (1879 - 1959). In 1925 Epstein invited Sunita, Enver and Anita to live at his home at Guilford Street in London with the full agreement of his wife Margaret. Mrs Epstein was trying to end her husband's affair with Kathleen Garman by encouraging him into affairs with other women. Sunita had become Epstein's favourite model and she posed, often alone but sometimes with her son, for numerous drawings and sculptures by Epstein until 1931. Jacob Epstein was apparently furious that John had encouraged "Sunita" to sit for a portrait and when John told him that he wanted Sunita to sit for him again, Epstein refused to allow it. "Augustus was celebrated first for his brilliant figure drawings, and then for a new technique of oil sketching. His work was favourably compared in London with that of Gauguin and Matisse. He then developed a style of portraiture that was imaginative and often extravagant, catching an instantaneous attitude in his subjects."
Loading...-
400830 item(s)/page